Imagine a kung fu flick in which the martial artists spout Situationist aphorisms about conquering alienation while decadent bureaucrats ply the ironies of a stalled revolution. This is what youll encounter in René Viénetss outrageous refashioning of a Chinese fisticuff film. An influential Situationist, Viénets stripped the soundtrack from a run-of-the-mill Hong Kong export and lathered on his own devastating dialogue. . . . A brilliant, acerbic and riotous critique of the failure of socialism in which the martial artists counter ideological blows with theoretical thrusts from Debord, Reich and others. . . . Viénetss target is also the mechanism of cinema and how it serves ideology.
Since Guy Debord has permanently withdrawn all his films from circulation, Can Dialectics Break Bricks? is virtually the only available example of a situationist use of cinema. Viénetss film is a far lesser creation than any of Debords, but still well worth seeing for its consistent use of the situationist technique of détournement the diversion of already existing cultural elements to new subversive purposes. Other filmmakers have used aspects of this technique, but only in confused and half-conscious ways, or for purely humorous ends à la Woody Allens Whats Up, Tiger Lily?
Viénets film is even funnier, but its humor comes not so much from its satire of an absurd film genre as from its undermining of the spectacle-spectator relation at the heart of an absurd society. In both its social-critical content and its self-critical form, it presents a striking contrast to the reformist whining and militant ranting that constitute most supposedly radical media. By turning the persuasive power of the medium against itself (characters criticize the plot, their own role in it, and the function of spectacles in general), it constantly counteracts the viewers tendency to identify with the cinematic action, reminding them that the real adventure or lack of it is in their own lives.
BUREAU OF PUBLIC SECRETS
Leaflet circulated at a showing of Vienet's film. Reprinted from Public Secrets: Collected Skirmishes of Ken Knabb